Podcasts about lenin lives next door

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman's output — can be tricky to pull off, but Popoff's extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor's, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman's output — can be tricky to pull off, but Popoff's extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor's, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

In their introduction to Seasoned Socialism: Gender & Food in Late Soviet Everyday Life (Indiana University Press, 2019), Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko invite the reader to “imagine a society where food is managed by officialdom like a controlled substance and everyone is addicted to it.” Food plays a pivotal role throughout Russian history, but perhaps no more so than during the Soviet era, when the perennial Russian cycle of feast and famine took on a highly political aspect.  Access to food was a powerful tool wielded by the State, from the Kholodomor to the ration cards of the eighties, Soviet citizens were forced to make daily choices about food, which often brought with them unwelcome moral dilemmas. For a topic that is such a fulcrum of political, economic, sociological, and historical, studies, far too little scholarship on the topic has been produced either in Russia or the West. We can posit the reasons why: probably too feminine a topic, definitely too domestic, not serious, too private, but the fact is indisputable and the lack of relevant scholarship of Russian culinary studies makes Seasoned Socialism all the more timely and welcome. This collection of essays by noted scholars from a range of fields, including literary studies, film studies, food studies, history, and sociology examines the intersection of gender, food, and culture in the post-1960s era.  In them, we discover oral history, personal cookbooks, memorable scenes from the Golden Age of Soviet Cinema, poetry, and even stories of survival in the Gulags.  We are transported inside steamy communal apartment kitchens and out to the welcome fresh air of a dacha.  We discover the lore of the cabbage and the magic of tea, and we come to know the people whose lives revolved around sourcing, preparing, and enjoying food in the late Soviet Era. Seasoned Socialism: Gender & Food in Late Soviet Everyday Life joins the canon of “must-reads” for serious students of Russian and Soviet history, culture, and, of course, cuisine. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

101 years have passed since the murder of the Imperial Family of Russia at Yekaterinburg, but their appeal has not diminished.  Indeed, interest in the Romanovs is at a historic high as television and the Internet age enables ever more devotees to discover the sepia-tinged appeal of Tsar Nicholas II and his doomed family. Less attention is devoted to the members of Nicholas’s family of origin, including many who survived the slaughter of 1917, escaping Russia for lives of exile in Europe and North America. And of these, no one is more fascinating than Nicholas's own mother, Dowager Empress Maria Fyodorovna, the Danish princess who captured the hearts of Russia when she arrived to marry the heir to the throne, Grand Duke Alexander Alexandrovich in 1866. C.W. Gortner's latest novel, The Romanov Empress: A Novel of Tsarina Maria Feodorovna (Ballentine Books, 2018) goes a long way to addressing this disparity.  The novel is an exceptionally well-researched, masterfully crafted account of Maria Fyodorovna from her upbringing in a cozy and modest childhood home in Denmark — which she shares with her sister, Alix, destined to be Britain's Queen Alexandra — to her final bittersweet moments in Russia in 1918. Gortner endows Maria Fyodorovna with the ability to see more than one side of an argument, and through her interaction with her father-in-law, the Tsar Liberator Alexander II, the reader gets keen insight into the urgent need for political and social reform in Imperial Russia. The tragic early death of Maria Feodorovna’s husband leaves her eldest son, Nicholas, woefully unprepared to assume the throne.  Gortner deftly draws the inevitable clash of wills between Maria and Alexandra, 'Nicholas's stubborn but strong-willed wife, who comes to entirely rely upon the Mad Monk Rasputin.  This struggle between the two women successfully drives the second half of the novel as war and revolution begin to overshadow the gilded Romanov world. Gortner's research shines through The Romanov Empress, and the resulting novel is several notches above many other attempts to recreate the hermetically sealed world of Tsarskoye Selo and the Winter Palace in terms of both quality and accuracy.  His cameo portraits of the sprawling tribe of Romanovs are spot on — particularly that of Maria Feodorovna’s sister-in-law and sidekick, the redoubtable Grand Duchess Maria Pavlovna the Elder.  But at the heart of the novel is Maria Fyodorovna herself — by no means perfect but trying hard to do what is right for the family and the country she loves in almost impossible circumstances.  Romanov fans will rejoice in this welcome addition to the canon. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

101 years have passed since the murder of the Imperial Family of Russia at Yekaterinburg, but their appeal has not diminished.  Indeed, interest in the Romanovs is at a historic high as television and the Internet age enables ever more devotees to discover the sepia-tinged appeal of Tsar Nicholas II and his doomed family. Less attention is devoted to the members of Nicholas’s family of origin, including many who survived the slaughter of 1917, escaping Russia for lives of exile in Europe and North America. And of these, no one is more fascinating than Nicholas's own mother, Dowager Empress Maria Fyodorovna, the Danish princess who captured the hearts of Russia when she arrived to marry the heir to the throne, Grand Duke Alexander Alexandrovich in 1866. C.W. Gortner's latest novel, The Romanov Empress: A Novel of Tsarina Maria Feodorovna (Ballentine Books, 2018) goes a long way to addressing this disparity.  The novel is an exceptionally well-researched, masterfully crafted account of Maria Fyodorovna from her upbringing in a cozy and modest childhood home in Denmark — which she shares with her sister, Alix, destined to be Britain's Queen Alexandra — to her final bittersweet moments in Russia in 1918. Gortner endows Maria Fyodorovna with the ability to see more than one side of an argument, and through her interaction with her father-in-law, the Tsar Liberator Alexander II, the reader gets keen insight into the urgent need for political and social reform in Imperial Russia. The tragic early death of Maria Feodorovna’s husband leaves her eldest son, Nicholas, woefully unprepared to assume the throne.  Gortner deftly draws the inevitable clash of wills between Maria and Alexandra, 'Nicholas's stubborn but strong-willed wife, who comes to entirely rely upon the Mad Monk Rasputin.  This struggle between the two women successfully drives the second half of the novel as war and revolution begin to overshadow the gilded Romanov world. Gortner's research shines through The Romanov Empress, and the resulting novel is several notches above many other attempts to recreate the hermetically sealed world of Tsarskoye Selo and the Winter Palace in terms of both quality and accuracy.  His cameo portraits of the sprawling tribe of Romanovs are spot on — particularly that of Maria Feodorovna’s sister-in-law and sidekick, the redoubtable Grand Duchess Maria Pavlovna the Elder.  But at the heart of the novel is Maria Fyodorovna herself — by no means perfect but trying hard to do what is right for the family and the country she loves in almost impossible circumstances.  Romanov fans will rejoice in this welcome addition to the canon. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

101 years have passed since the murder of the Imperial Family of Russia at Yekaterinburg, but their appeal has not diminished.  Indeed, interest in the Romanovs is at a historic high as television and the Internet age enables ever more devotees to discover the sepia-tinged appeal of Tsar Nicholas II and his doomed family. Less attention is devoted to the members of Nicholas’s family of origin, including many who survived the slaughter of 1917, escaping Russia for lives of exile in Europe and North America. And of these, no one is more fascinating than Nicholas's own mother, Dowager Empress Maria Fyodorovna, the Danish princess who captured the hearts of Russia when she arrived to marry the heir to the throne, Grand Duke Alexander Alexandrovich in 1866. C.W. Gortner's latest novel, The Romanov Empress: A Novel of Tsarina Maria Feodorovna (Ballentine Books, 2018) goes a long way to addressing this disparity.  The novel is an exceptionally well-researched, masterfully crafted account of Maria Fyodorovna from her upbringing in a cozy and modest childhood home in Denmark — which she shares with her sister, Alix, destined to be Britain's Queen Alexandra — to her final bittersweet moments in Russia in 1918. Gortner endows Maria Fyodorovna with the ability to see more than one side of an argument, and through her interaction with her father-in-law, the Tsar Liberator Alexander II, the reader gets keen insight into the urgent need for political and social reform in Imperial Russia. The tragic early death of Maria Feodorovna’s husband leaves her eldest son, Nicholas, woefully unprepared to assume the throne.  Gortner deftly draws the inevitable clash of wills between Maria and Alexandra, 'Nicholas's stubborn but strong-willed wife, who comes to entirely rely upon the Mad Monk Rasputin.  This struggle between the two women successfully drives the second half of the novel as war and revolution begin to overshadow the gilded Romanov world. Gortner's research shines through The Romanov Empress, and the resulting novel is several notches above many other attempts to recreate the hermetically sealed world of Tsarskoye Selo and the Winter Palace in terms of both quality and accuracy.  His cameo portraits of the sprawling tribe of Romanovs are spot on — particularly that of Maria Feodorovna’s sister-in-law and sidekick, the redoubtable Grand Duchess Maria Pavlovna the Elder.  But at the heart of the novel is Maria Fyodorovna herself — by no means perfect but trying hard to do what is right for the family and the country she loves in almost impossible circumstances.  Romanov fans will rejoice in this welcome addition to the canon. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

101 years have passed since the murder of the Imperial Family of Russia at Yekaterinburg, but their appeal has not diminished.  Indeed, interest in the Romanovs is at a historic high as television and the Internet age enables ever more devotees to discover the sepia-tinged appeal of Tsar Nicholas II and his doomed family. Less attention is devoted to the members of Nicholas’s family of origin, including many who survived the slaughter of 1917, escaping Russia for lives of exile in Europe and North America. And of these, no one is more fascinating than Nicholas's own mother, Dowager Empress Maria Fyodorovna, the Danish princess who captured the hearts of Russia when she arrived to marry the heir to the throne, Grand Duke Alexander Alexandrovich in 1866. C.W. Gortner's latest novel, The Romanov Empress: A Novel of Tsarina Maria Feodorovna (Ballentine Books, 2018) goes a long way to addressing this disparity.  The novel is an exceptionally well-researched, masterfully crafted account of Maria Fyodorovna from her upbringing in a cozy and modest childhood home in Denmark — which she shares with her sister, Alix, destined to be Britain's Queen Alexandra — to her final bittersweet moments in Russia in 1918. Gortner endows Maria Fyodorovna with the ability to see more than one side of an argument, and through her interaction with her father-in-law, the Tsar Liberator Alexander II, the reader gets keen insight into the urgent need for political and social reform in Imperial Russia. The tragic early death of Maria Feodorovna’s husband leaves her eldest son, Nicholas, woefully unprepared to assume the throne.  Gortner deftly draws the inevitable clash of wills between Maria and Alexandra, 'Nicholas's stubborn but strong-willed wife, who comes to entirely rely upon the Mad Monk Rasputin.  This struggle between the two women successfully drives the second half of the novel as war and revolution begin to overshadow the gilded Romanov world. Gortner's research shines through The Romanov Empress, and the resulting novel is several notches above many other attempts to recreate the hermetically sealed world of Tsarskoye Selo and the Winter Palace in terms of both quality and accuracy.  His cameo portraits of the sprawling tribe of Romanovs are spot on — particularly that of Maria Feodorovna’s sister-in-law and sidekick, the redoubtable Grand Duchess Maria Pavlovna the Elder.  But at the heart of the novel is Maria Fyodorovna herself — by no means perfect but trying hard to do what is right for the family and the country she loves in almost impossible circumstances.  Romanov fans will rejoice in this welcome addition to the canon. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman’s output — can be tricky to pull off, but Popoff’s extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman’s output — can be tricky to pull off, but Popoff’s extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman’s output — can be tricky to pull off, but Popoff’s extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman’s output — can be tricky to pull off, but Popoff’s extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Memory and truth are malleable and nowhere more so than in the Soviet Union.  To be a writer in that country was to face an ongoing dilemma: conform to State-mandated topics and themes, or consign oneself to obscurity, writing only for “the desk drawer” or “without permission.” Vasily Grossman challenged that binary choice, creating some of the most compelling and uncompromising fiction and journalism of the century, but also enduring heartbreaking censorship. Her excellent new biography, Vasily Grossman and the Soviet Century (Yale University Press, 2019) brings the life and work of this often-overlooked writer into brilliant focus. Biography of a writer — particularly one with Grossman’s output — can be tricky to pull off, but Popoff’s extensive research is elegantly arranged into a very readable narrative, in which we follow Grossman through the harrowing experiences of witnessing first hand, famine in the 1920s, the Terror of the 1930s, the carnage of World War II, and the dull ache of censorship in the post-war Soviet Union. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the littoral nations of the Baltic Sea is like a saga, that genre perfected by those tenacious inhabitants of the rocky shores of this ancient trading corridor.  In it, we meet pirates, princes, and prelates; and while much divides the Slavs, Balts, Saxons, Poles, and Scandinavian peoples, much also unites them: rugged individualism and a desire to expand the boundaries of their known world. Caroline Boggis-Rolfe’s new book, The Baltic Story: A Thousand Year History of Its Lands, Sea, and Peoples(Amberley, 2019) is a deep dive into this engrossing history.  It which opens with the prosperity of the Hanseatic League, that commercial confederation, which ruled the Baltic between the fourteenth and sixteenth centuries and closes with the end of World War I and the Russian Revolution.  Unlike other studies of the region which focus on subsets of the Baltic region: Scandinavia, Northern Germany, the Baltic States, Russia, and Poland, Boggis-Rolfe has undertaken the somewhat daunting task of examining 1000 years of the region’s history as one unified history. Boggis-Rolfe’s approach makes The Baltic Story eminently readable: rather than placing her material in strict silos, she weaves the stories of separate nations into a cogent chronological narrative, examining each nation at the zenith of its power, but through the lens of its relationship to its neighbors.  That being said, each chapter is an excellent stand-alone study, and in them we get the privilege of spending time with the bold Swedish monarchs who forged empires, the erudite Kings of Poland, the patrons of Copernicus; Peter the Great who hewed for Russia a “window on the West,” and the visionary Frederick II of Prussia, and a host of other equally fascinating personalities. The Baltic Story was born of Boggis-Rolfe’s two passions: her academic work on Voltaire and the Enlightenment and her many years of visiting Eastern Europe and the Baltic region.  She has a natural gift for story-telling, which makes the history of this region leap off the page.  Her tenacity and commitment to creating what did not previously exist — a complete study of the Baltic — is a boon for both amateur and seasoned historians, and anyone embarking on a voyage of discovery around the Baltic Sea. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonory Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonory Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vory: Russia’s Super Mafia (Yale University Press, 2018) by Mark Galeotti is an engrossing read about a topic mainstream scholarship has largely ignored: Russia’s criminal underworld. With Galeotti as our guide, we delve into the colorful world of the vory v zakone or “thieves of the code,” with their flamboyant nicknames, esoteric rituals, and vibrant body tattoos, which Galeotti explains are very much a gangster’s CV. The Vory traces the development of the Russian underworld  from the horse bandits and bank robbers of the nineteenth century, through the chaos of the Revolution and the Civil, when, as Galeotti says, “… the Bolsheviks won the war but lost their souls.”  Galeotti’s scholarship shines through the section on the vast sea change that takes place when during The Terror as the gangsters are co-opted by the State to help regulate the Gulag system.  The resulting “turf war” creates a new post-war type of gangster, the “avtorityet,” who adapt to service the needs of a society in chaotic transition. The Vory also looks at the ways the Putin administration has tamed the underworld, but also the ways in which the State and the underworld are now intrinsically linked; the government even outsources unseemly tasks to the underworld, as is clear in both the 2014 Annexation of Crimea and the ongoing frozen conflict in Donbas. Galeotti first became interested in Russian organized crime while interviewing veterans of Russia’s war with Afghanistan for his doctorate research.  He noted that many of the Afgantsy were drifting into ranks of the vorovsky mir or “thieves world.”  Since that time, he has delved into the topic with a unique methodology that fuses scholarship with personal encounter.  It takes a special researcher to ride around Moscow’s dodgy neighborhoods in a rickety squad car wearing a well-used bullet-proof vest, but Galeotti’s time has certainly not been wasted.  “The Vory” is a thrilling and gripping read filled with larger-than-life, compelling characters and spot-on historical analysis.  It is marvelous window into a secret world that is constantly evolving. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vory: Russia’s Super Mafia (Yale University Press, 2018) by Mark Galeotti is an engrossing read about a topic mainstream scholarship has largely ignored: Russia’s criminal underworld. With Galeotti as our guide, we delve into the colorful world of the vory v zakone or “thieves of the code,” with their flamboyant nicknames, esoteric rituals, and vibrant body tattoos, which Galeotti explains are very much a gangster’s CV. The Vory traces the development of the Russian underworld  from the horse bandits and bank robbers of the nineteenth century, through the chaos of the Revolution and the Civil, when, as Galeotti says, “… the Bolsheviks won the war but lost their souls.”  Galeotti’s scholarship shines through the section on the vast sea change that takes place when during The Terror as the gangsters are co-opted by the State to help regulate the Gulag system.  The resulting “turf war” creates a new post-war type of gangster, the “avtorityet,” who adapt to service the needs of a society in chaotic transition. The Vory also looks at the ways the Putin administration has tamed the underworld, but also the ways in which the State and the underworld are now intrinsically linked; the government even outsources unseemly tasks to the underworld, as is clear in both the 2014 Annexation of Crimea and the ongoing frozen conflict in Donbas. Galeotti first became interested in Russian organized crime while interviewing veterans of Russia’s war with Afghanistan for his doctorate research.  He noted that many of the Afgantsy were drifting into ranks of the vorovsky mir or “thieves world.”  Since that time, he has delved into the topic with a unique methodology that fuses scholarship with personal encounter.  It takes a special researcher to ride around Moscow’s dodgy neighborhoods in a rickety squad car wearing a well-used bullet-proof vest, but Galeotti’s time has certainly not been wasted.  “The Vory” is a thrilling and gripping read filled with larger-than-life, compelling characters and spot-on historical analysis.  It is marvelous window into a secret world that is constantly evolving. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vory: Russia’s Super Mafia (Yale University Press, 2018) by Mark Galeotti is an engrossing read about a topic mainstream scholarship has largely ignored: Russia’s criminal underworld. With Galeotti as our guide, we delve into the colorful world of the vory v zakone or “thieves of the code,” with their flamboyant nicknames, esoteric rituals, and vibrant body tattoos, which Galeotti explains are very much a gangster’s CV. The Vory traces the development of the Russian underworld  from the horse bandits and bank robbers of the nineteenth century, through the chaos of the Revolution and the Civil, when, as Galeotti says, “… the Bolsheviks won the war but lost their souls.”  Galeotti’s scholarship shines through the section on the vast sea change that takes place when during The Terror as the gangsters are co-opted by the State to help regulate the Gulag system.  The resulting “turf war” creates a new post-war type of gangster, the “avtorityet,” who adapt to service the needs of a society in chaotic transition. The Vory also looks at the ways the Putin administration has tamed the underworld, but also the ways in which the State and the underworld are now intrinsically linked; the government even outsources unseemly tasks to the underworld, as is clear in both the 2014 Annexation of Crimea and the ongoing frozen conflict in Donbas. Galeotti first became interested in Russian organized crime while interviewing veterans of Russia’s war with Afghanistan for his doctorate research.  He noted that many of the Afgantsy were drifting into ranks of the vorovsky mir or “thieves world.”  Since that time, he has delved into the topic with a unique methodology that fuses scholarship with personal encounter.  It takes a special researcher to ride around Moscow’s dodgy neighborhoods in a rickety squad car wearing a well-used bullet-proof vest, but Galeotti’s time has certainly not been wasted.  “The Vory” is a thrilling and gripping read filled with larger-than-life, compelling characters and spot-on historical analysis.  It is marvelous window into a secret world that is constantly evolving. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vory: Russia’s Super Mafia (Yale University Press, 2018) by Mark Galeotti is an engrossing read about a topic mainstream scholarship has largely ignored: Russia’s criminal underworld. With Galeotti as our guide, we delve into the colorful world of the vory v zakone or “thieves of the code,” with their flamboyant nicknames, esoteric rituals, and vibrant body tattoos, which Galeotti explains are very much a gangster’s CV. The Vory traces the development of the Russian underworld  from the horse bandits and bank robbers of the nineteenth century, through the chaos of the Revolution and the Civil, when, as Galeotti says, “… the Bolsheviks won the war but lost their souls.”  Galeotti’s scholarship shines through the section on the vast sea change that takes place when during The Terror as the gangsters are co-opted by the State to help regulate the Gulag system.  The resulting “turf war” creates a new post-war type of gangster, the “avtorityet,” who adapt to service the needs of a society in chaotic transition. The Vory also looks at the ways the Putin administration has tamed the underworld, but also the ways in which the State and the underworld are now intrinsically linked; the government even outsources unseemly tasks to the underworld, as is clear in both the 2014 Annexation of Crimea and the ongoing frozen conflict in Donbas. Galeotti first became interested in Russian organized crime while interviewing veterans of Russia’s war with Afghanistan for his doctorate research.  He noted that many of the Afgantsy were drifting into ranks of the vorovsky mir or “thieves world.”  Since that time, he has delved into the topic with a unique methodology that fuses scholarship with personal encounter.  It takes a special researcher to ride around Moscow’s dodgy neighborhoods in a rickety squad car wearing a well-used bullet-proof vest, but Galeotti’s time has certainly not been wasted.  “The Vory” is a thrilling and gripping read filled with larger-than-life, compelling characters and spot-on historical analysis.  It is marvelous window into a secret world that is constantly evolving. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more.    Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vory: Russia’s Super Mafia (Yale University Press, 2018) by Mark Galeotti is an engrossing read about a topic mainstream scholarship has largely ignored: Russia’s criminal underworld. With Galeotti as our guide, we delve into the colorful world of the vory v zakone or “thieves of the code,” with their flamboyant nicknames, esoteric rituals, and vibrant body tattoos, which Galeotti explains are very much a gangster’s CV. The Vory traces the development of the Russian underworld  from the horse bandits and bank robbers of the nineteenth century, through the chaos of the Revolution and the Civil, when, as Galeotti says, “… the Bolsheviks won the war but lost their souls.”  Galeotti’s scholarship shines through the section on the vast sea change that takes place when during The Terror as the gangsters are co-opted by the State to help regulate the Gulag system.  The resulting “turf war” creates a new post-war type of gangster, the “avtorityet,” who adapt to service the needs of a society in chaotic transition. The Vory also looks at the ways the Putin administration has tamed the underworld, but also the ways in which the State and the underworld are now intrinsically linked; the government even outsources unseemly tasks to the underworld, as is clear in both the 2014 Annexation of Crimea and the ongoing frozen conflict in Donbas. Galeotti first became interested in Russian organized crime while interviewing veterans of Russia’s war with Afghanistan for his doctorate research.  He noted that many of the Afgantsy were drifting into ranks of the vorovsky mir or “thieves world.”  Since that time, he has delved into the topic with a unique methodology that fuses scholarship with personal encounter.  It takes a special researcher to ride around Moscow’s dodgy neighborhoods in a rickety squad car wearing a well-used bullet-proof vest, but Galeotti’s time has certainly not been wasted.  “The Vory” is a thrilling and gripping read filled with larger-than-life, compelling characters and spot-on historical analysis.  It is marvelous window into a secret world that is constantly evolving. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more.    Learn more about your ad choices. Visit megaphone.fm/adchoices

Jennifer Eremeeva is an American writer, photographer, Russian historian, blogger, and humor and cooking columnist based in Moscow Russia. In 2009, Jennifer created   the award-winning blog “Dividing My Time: Finding The Funnier Side of Life in Russia,” which highlights humorous aspects of her life in Russia, her cross-cultural marriage and offers up very digestible doses of Russian history, culture, politics, literature and her own wry observations of daily life in the world's largest country. In 2011, Jennifer parlayed her passion for running great food to ground in Moscow in The Moscovore, an English-language site dedicated to gathering cooking resources, news, and recipes together in one place.   Jennifer is a regular contributor to The Voice of Russia, BBC Russia Service, and is the Cooking and Humor columnist for “Russia Beyond The Headlines:” a monthly color supplement to The Washington Post, The Daily Telegraph, The Times of India and others. Jennifer was born in Oklahoma City, and raised and educated in New England and the United Kingdom.  She received a Bachelor of Arts Degree in Russian Area Studies from Columbia University in 1989. Jennifer's professional life featured a decade and a half in the Travel & Tourism industry. She also served as Head of External Relations with United Financial Group (UFG) a major Russian investment bank from 2003 – 2006 through its strategic sale to Deutsche Bank.   Her new book is Lenin Lives Next Door: Marriage, Martinis, and Mayhem in Moscow!